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Bernard Plantive #03

What about a work that she, her bill would enshrine in the instruction of a specific path, a work that would provide, in the absence of keys, the area where we should engage our perception? It would be a work that would require a very different approach: we would be invited to see the thing in the same manner as we are invited to understand. It is through this concentration of intentions at best be approached the work of Bernard Plantive. A work necessarily balanced in the field that defines it and which will rise the precision and accuracy of these designs : Multiple versions of formal rectangle are exactly parallel to those organic elements that compose them, wood, casein and black smoke. They form a block of elementary sensations that call at the same time in all possible ways of adjustment. The balance, precarious as the backing from these objects, powerful as are the buildings, these volumes, these architectural figures, a book covering both material and semiotic question of how it presents itself to our consideration.
The equilibrium of a material object and semiotics. What does that mean?

When we understand that the light painted by Vermeer is worthy of color, we accept and we neglect the time it is the color that is to say the pigment, the material spread over the canvas that has produced this miracle: the color that reflects light in the representation, appearing naturally in a world that no longer is, is elevated to a color. Admitting that something is there (the color), forgetting his presence because it means we are something else (light), on finding her as a sublimation of what it means (light, "Soul of any color), we mobilize the powers that lead us towards a recognition of both sensitive and historic setting on the canvas of a model in the past has the power to keep the freshness of eternity. It "knows" open the field of painting, subject to rules of proportion and accurate representation on another universe, that of a radically different chromatic function. The topic needed to call sooner or later to be translated according to this solution. And Providence has given to Vermeer to be among those who fought the most brilliant results.

When the fecal matter that reconstitutes Delvoye through a reproducing apparatus digestion (1) , slowly unfolds before our eyes at the end of his training, we are invited to include this in the same way that we should seize the Vermeer-color denoting the light-as-soul-of-all-color: it focuses our attention because it is the product of an act that trial, who is special and that we require for occasionally admits to being a work of art. This ruling is one who knows how many today have the technical device, the impact Ethics and spooky and the clone's own artistic criticism addressed to the value of art and those who have misappropriated.

result immediately controversial one suspects, because as the light is no longer suitable to a particular debate (which indeed was not always so, judging by the controversies aroused designs chromatic Gauguin and Cezanne), as social values are still on dangerous ground, more so if they raise a controversy that still considers "current" (2) .

Bernard Plantive reverses the problem: neither the rules figurative, neither the assumptions above do social work to be translated back into work. There is no need to extend as far as possible the scope of our knowledge and our intuition of light, or see the ethical consequences which an organic work invites us to recognize the intentions that drive the implementation. There is no need to unroll the scope of the review hope to touch the limits induced by the work, since the author intends to show the space as specific and as visible as possible.

What strikes at first in his work is the presentation , it should take almost liturgical sense, an object carrying both an act and a power. These are not empty words because this work is part of the journey qu'empruntèrent those who, in their work, wished to unite in a field defined the feel and symbol. Joints strict rectangles, the declination of simple shapes belong to a process of formal proposals and the results have become historical models, which appear the names of Malevich, Mondrian and Duchamp. By making this process visible, Bernard Plantive deliberately reduced means. The challenge of its work depends on finding a common denominator that unifies the construction of thought to his sensitive organization.

Approach austere but poetic immediate impact: This work, never give in to the sunset, sits on the border that separates the world of objects and the lucid and opaque, their mysteries. It can then return with a newly gained transparency that reference hot stage which would to test the prism of culture and sense what is quoted. The quote becomes a signifier, but placed the same degree as that of the more formal about it is private and its immediate significance. No context as intuitive, although it is social or historical.

In a sense, Bernard Plantive abolishes the distance between what is represented (beyond even the extras) and what is, and exceeds by inoculating his works and an image and a model of the world. A position reminiscent of the early Wittgenstein (3) .

Notes:
1 Cloaca, 2000, 270x1160x170cm, installation.
2 Pierre Bourdieu once remarked that the difference in intensity analysis can lead, as it focuses on the Dreyfus Affair or the sermons of the bishop of Evreux.
3 Soulez Antonia, "How to raise the concern of the philosopher? A question template for a method of synopses, "in Lectures of Wittgenstein and Waismann Schlick, T. II, Critical Studies, Paris, Presses Universitaires France, 1997.

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Bernard Plantive #02


Johannes Vermeer Lane, 1658, 54.3 cm x 44 cm. Rijksmuseum Amserdam.

The value of a work certainly depends analysis of what the criticism and history will be retained. But it also crosses the scope of this provision that we all swing. This game is both sensitive and mind which seeks not so much what is beautiful in a work, but rather what it deserves, thus finding in her and around her means, in the words of Wittgenstein, the understand (1).

It would then, somehow, a way to join our inclinations extra effort, that we receive from all forms of education including curiosity would be the most personal way. Such an adjustment of the light can tell us finally, whether or not we accept that the work is important to our decision: constant practice would not be measurable, so that neither the psychology nor the analytical reasoning can not provide full the explanation. We would have thought, according to one or the other principle examine the eternally valuable mechanisms of our orders, we will never really know why we are told that a work is beautiful, a work is great, a work occupies in the sphere of a whole life a vital place.

What we work first before a work of Vermeer and Wim Delvoye is look not how to say what the work or even how to describe it, but look how to set the life of our those of our intelligence and audacity of our refusal. There are worlds to conquer more than others depending on what a work exhibited at our doubt. Either it will maintain the irresolution or she takes the party temporarily misplace the keys. The focus is not on solving these mysteries, but on the roads, more or less long, it must borrow. When

Ungaretti said, after his short presentation of Vermeer, "summarizing what I said previously, naively, Vermeer, I would note that we can already foresee the reasons that distinguish it from" small masters " his contemporaries: the importance of light for him, he sees itself as a color, and he did - his paintings attest - the soul of every color " (2), as he says? Il montre, à la faveur du progrès de sa réflexion, qu'il faut avoir saisi les véritables promesses que donnent lumière et couleur, c'est-à-dire des promesses qui nous sont faites, pour comprendre pourquoi Vermeer est went further than others.

It is this special magic to the art that suddenly puts us at what we know or understand the world that I know of light, I know what color, would I have suspected that could deliver Another thing that could be placed on the balance of science and sensation, a fact that I did not think or imagine that I wanted so much? Magic is not a lesson and we do not say "light in Vermeer." The work keeps us doing in this timely this kairos (3) where several lights are superimposed. The one Vermeer equate color, it also knows that our flesh with all its resources, its multiple deployments. "Color", of course, but also "hot," "blindness "," Day "," life "...

Once again it is the journey toward understanding that frees the means to take action. Tracking in different worlds, different or inconsistent, since that forges the work invites us to consider them. Such Delvoye's work requires that we question our own standards of taste and values that society accords to things which are declared or not beauty, to receive full replay "Indonesian" or a digger implementation of a machine excrement.

Notes: 1
Ludwig Wittgenstein, "Lectures on Aesthetics" in Lessons and conversations , Paris, Gallimard, 1992. 2
Giuseppe Ungaretti, Vermeer, translated from Italian by Philip Jaccottet, Caen, Scorp, 1990, pp. 22-23. 3 The
kairos Aristotelian, "when the course of time, inadequately managed, as seems to hesitate and waver, for good or for evil of man," Peter Aubenque, prudence in Aristotle , Paris, Presses Universitaires France, 1997, p. 104. See also Anne Cauquelin, Aristotle , Paris, Editions du Seuil, 1994 53: "Kairos : chance, what happens. Manage this kairos is a matter of careful, prudent man, who knows what to do at the right time. Born into a reflection on time, 'number of movement' as defined in Book IV of Physics the kairos introduced the idea of an evaluation of possibilities. In itself, the chance of random encounters simple, nothing, it is what the wise man will make. Prudence, therefore, is the ability to grasp in an intuitive perception of the singular, the right moment to act. "

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Bernard Plantive #01


Plantive Bernard, Via Lactea , wood, casein, porcelain inkwell.

say what a work of art assumes that it has a lot to say about the sublime, the blindness of the material, the imprint of a force on a form, all things strange it is difficult to make. This constant difficulty of producing a typology between valid for a large part in the chaotic and teeming report that we have with a work. One could say such a work of art she gathers around her, for multiple solutions - those of accumulation, the stratification of the city, perhaps that of the organization - what it entails. It captures the intensity of gaze that are addressed, hoarding frequency vibrations that the trial issues and maintaining and the various forces that correspond to its nature released, wins and renews his own power.

You could say conversely that the artwork is not able to give us this and it will be located, to be truly understood in terms of what it denotes , at both the type of reality to which it belongs and it is the result. By becoming the subject of analysis in which we seek conditions which will ensure its "validity" beyond those which have psychologically, socially or historically generated, the artwork would be reduced by the human sense through which we want to enlighten. But she would receive in return an assurance that it has an abundance of a specific language, the precise extent to which it bears the references belong to a symbolic framework. Y would then be conveyed real signs that he would be supportive.

Those critics or historians who do not share the positions of Panofsky felt we could assign to the symbolic representation of the full support of the reading of a work. Gombrich as Goodman, each according to its methodology, devalued the balance of representation, bypassing somehow pretend to imitate that remained, despite the invention of perspective, a goal they believed essential to say anything that belonged to art. Distinguish whether the sensitivity of the understanding, in order prior noble to give the first tokens of authority and autonomy, we must also know how to distinguish in the field of creation that is or literal denotation.

Capture intensities, symbolic systems non-verbal: there are two rival conceptions. Should they refuse so far to each other? Block sensations for a thinker like Deleuze (1) - who was strongly attached to the immanence of things to flow through them, perceptions and emotions that make up the work - for a thinker as exemplification Goodman (2) - that they exist as singular concrete realities, where the idea is merely a name, a simple word - the artwork of each position receives a copy force deployed under our eyes by an arsenal that convinces us or repels us. But we also suggested by an identical way, that we are part of this review.

For we are facing at work in the same manner as those who "take the pulse" or that decode the language. We like or dislike and seek to support our feelings as that of our thinking the reasons which justify our judgments. And those who are reviewing.

Notes:

1 Gilles Deleuze and Felix Guattari, What that philosophy? Paris, Les Editions de Minuit, 1991, p. 154
2 Nelson Goodman, Languages of Art, Nimes, Editions Jacqueline Chambon, 1990.

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